32NSculpting with Sounds, Images and Words (Stanford Introductory Seminar)
150 Musical Acoustics 154B Aesthetcs of Experimental Electronic Music, 1980 to Today 192BAdvanced Sound-Recording Technology 220BCompositional Algorithms, Psychoacoustics, and Computational Music 256B Mobile Music 253 Musical Information and Symbolic Data Interchange 319 Research Seminar on Computational Models of Sound Perception 320B Introduction to Audio Signal Processing Part II: Digital Filters 422 Perceptual Audio Coding 451B Auditory EEG Research II: Advanced Research in Auditory and Music Neuroscience
In case you were wondering, all these *LOrk digressions did not come out of nowhere. Many of them are reflections directly connected to my own great experience with SLOrk in the Spring of 2010, when my piece Intellectual Improperty 0.6 was composed and performed.
The recoup of sound proximity by the performer doesn't come without new problems. A more sophisticated vocabulary of “instrumental” gestures would certainly help to infuse the regained sound localization with new meaning; but a rich gestural vocabulary (if possible at all) has not yet developed, having been limited up to now to relatively simple connections between gesture and sound.
When ten or twenty musicians sit on the floor on colorful cushions with their laptops sitting on nice little breakfast tables in front of them, a theatrical situation is created: the audience is led to accept those everyday objects as musical instruments in some way (more, perhaps, than when a solo laptop performer sits on stage). It is a kind of implicit pact that the public seems generally willing to accept.
By using external controllers of various sorts (usually of a more “gestural” nature, beyond the keyboard-and-trackpad paradigm), a laptop performer engages on gestural activity that reconnects her, at least on one level, with the dimension of movement as discussed in my previous tentative definition of musical instrument.